Charmed:Reboot
by Bitchyness101
Summary: The estranged Pierce Sisters reunite in their hometown of New Orleans for a wedding. There, they discover their destiny as powerful witches who must protect the innocent and vanquish the forces of evil.
1. Chapter 1

'Charmed' Reboot Lands CW Pilot Order

This new iteration of the cult classic show is being hailed from Luke Cage writer Akela Cooper. The CW's Charmed is being described as a "supernatural family drama" that will center on three estranged sisters who, reunite in their hometown of New Orleans for a wedding and discover their destiny as powerful witches who must protect the innocent and vanquish the forces of evil.

The drama coming from CBS Television Studios, will be executive produced by Ben Silverman and SJ Clarkson who is also slated to direct.

The Charmed pilot comes five years after CBS announced plans to remake the original series, which ran on The WB for eight seasons from 1998-2006 and starred Shannen Doherty, Holly Marie Combs, Alyssa Milano and later Rose McGowan. The original was created by Constance M. Burge and exec produced by Aaron Spelling. CBS Studios, which owns the rights to Spelling's vast TV library, was attached to exec produce the CBS reboot in 2013. That project hailed from Party of Five co-creator Chris Keyser and Sydney Sidner. (Keyser, meanwhile, is rebooting Party of Five for FreeForm).

Author's Note: Hello Readers! This has been a dream of mine for a while. To pen a Charmed reboot that pays tribute to the original show while carving out its own identity for itself. I had tried many times to write one, but it never came out right. Luckily, with the blessing of a new friend who has allowed me to use his characters, I think this try might be "The One" Lol. I will be posting the character descriptions soon and I hope you enjoy my version of 'Charmed'.


	2. Meet The Characters

**Meet the Characters**

 **Gabrielle Union** will play **Dalia Pierce –** the irresponsible eldest sister. Dalia (32) is a wild child that has never seem to grow up and become an adult. Could this new-found destiny be the thing that makes her finally face adulthood?

 **Nicole Beharie** will play feisty middle sister **Seantel Pierce-Reyes.** Seantel (28) is a caged bird. She has it all it seems: a beautiful wife and son and a great job. But she yearns for a little excitement in her life. Lucky for her that's about to change soon.

 **Kylie Bunbury** will portray youngest sister **Kelsey.** Kelsey (25) is a witty, clumsy and impulsive individual. Kelsey works as a social worker and enjoys helping others. She is engaged to be married to the handsome and charming surgeon Dr. Darren Choi. However, this all could be jeopardized by her new role as a witch.

 **Harry Shum Jr** plays general surgeon Dr. **Darren Choi.** New to the city of New Orleans, Darren quickly meets and falls for the beautiful Kelsey.

 **Valery Ortiz** as **Valentina Pierce-Reyes** , the wife of Seantel. Valentina (29) is a kind and nurturing soul – a perfect companion to offset her partner's fiery nature. She is an elementary school teacher. Valentina is secretly worried that her wife is growing tired and pulling away from her.

 **Michael Boatman** will play **Michael Pierce –** the father of the Charmed Ones. Age 55, Michael is an honest blue-collar detective. A man who has experienced his share of pain and will do anything in his power to not let his daughters find out who and what they truly are.

 **Debbi Morgan** as **"Ruby"**. A mysterious figure that enters the sisters' lives and seems to have a past with the family.

Author's Notes: A huge thank you to PurelyWyatt from the Charmed Café proboards for allowing me to use his characters while putting my own spin on them.


	3. 101 The Witching Hour Teaser

**CHARMED**

1.01

"The Witching Hour"

Teleplay by Akela Cooper.

Based on the original series created by Constance M. Burge.

Directed by S.J. Clarkson.

Starring

Gabrielle Union as Dalia Pierce

Nicole Beharie as Seantel Pierce-Reyes

Kylie Bunbury as Kelsey Pierce

Harry Shum Jr as Darren Choi

Valery Ortiz as Valentina Pierce-Reyes

With Michael Boatman as Michael Pierce

And Debbi Morgan as "Ruby"

'Charmed: The Reboot' is a concept conceived and copyrighted and cannot be copied without the author's permission

 **TEASER**

Ext. Pierce Manor –Dusk

We open on a pregnant moon sitting atop the Pierce House. A beautiful dark red Victorian style manor – complete with stained-glass windows and a wrought-iron trim. The house is dark – signaling that no one is home. Suddenly, a silver sedan pulls up in front with a screech. The driver and passenger doors are quickly opened by two brown-skinned women sporting matching beautiful red bridesmaid dresses.

PASSENGER BRIDESMAID

(Twinge of fear)

We need to hurry!

The two women make their way to the backseat and the driver opens the door to reveal a teared stained woman wearing a huge wedding dress that has been disfigured with blood. They help her out of the vehicle and race up the stairs to the manor.

We stay outside as we see them entering the house and not too soon the lights are turned on. Suddenly, we hear the collective screams of the ladies and then sounds of glass shattering.

The camera zooms into the attic window.

Int. Pierce Manor. Attic –Dusk

A regular dusty crowded room saved for the shelf at the left corner containing vials of potions and herbs and an altar housing a large mustard colored book with the marassa twa on the top. The symbol glows for a second then stops.

We hear the screams again. This time it's much closer. We hear footsteps coming towards the attic door and finally its opened. The ladies from before rush in.

BRIDE

Put as many things against the door as you can!

The bridesmaids do as they are told and push a dresser against the door.

DRIVER BRIDESMAID

(to the bride)

Kelsey! Look in the book for a spell to vanquish this son of a bitch.

KELSEY nods and starts to leaf through the book as PASSENGER BRIDESMAID comes with a chair and puts it on to the dresser to make the barricade much stronger.

KELSEY

Nothing! There's nothing here to kill him.

PASSENGER BRIDESMAID

What?

The two flunk Kelsey's side to look at the book.

DRIVER BRIDESMAID

N-n-no. There must be something in here.

KELSEY

There isn't! We're all gonna die.

DRIVER BRIDESMAID

Seriously? Can we think more positively please?

PASSENGER BRIDESMAID looks to the door as she sees the chair slowly sliding off the dresser.

PASSENGER BRIDESMAID

Guys…

The girls look to the door as low demonic laughter can be heard from the other side.

DEMONIC VOICE

Do you think a chair will stop me?

 **The Chair flies off the dresser and breaks.**

DEMONIC VOICE (CONT'D)

Do you think a dresser can stop me?

 **The dresser slides away from the door violently.**

DEMONIC VOICE (CONT'D)

Have you witches not figured it out? Nothing. Nothing. Can keep me away.

PASSENGER BRIDESMAID

(To Driver Bridesmaid)

Dalia, what do we do? We're trapped.

Dalia looks at the two women. Panic and fear clearly etched on their faces. She gives them a sad smile and takes Kelsey's right hand and gives it a squeeze. Kelsey looks down at their intertwined hands and looks up with eyes full of tears but is denying them release.

She nods to her colleague and then takes the hand of PASSENGER BRIDESMAID who gives her a wink with her glossy eyes as they make their way from behind the podium to the middle of the room.

Demonic Laugh intensifies but the door is still not open. Whoever is behind the door is clearly enjoying themselves and loves playing with its food before the kill.

We take one more look at the ladies – a scared but determined look on their faces.

Camera slowly pulls away from them and we leave from whence we came: the attic window.

We are a few inches from the window when suddenly we hear screaming again. **Then an explosion that rocks the house, breaking every window! Pieces of glass from the broken attic window comes at us forming the title cards.**

 **CHARMED**

END OF TEASER

 **A/N: So, here it is – the teaser of the first episode. Did you guys like how I made it to mirror the first vanquish of The Halliwell's? There'll be plenty of nods to the original show in the next five acts to come. Leave a review and tell me what you think. Constructive criticism only! No negativity please.**


	4. 101 The Witching Hour ACT I

**ACT I**

A Syphon appears on screen: **4 Months Earlier**

Ext. Pierce Manor – Morning

We see the bride from before sitting on the steps. She's still in her PJs drinking a cup of coffee while checking her wristwatch every few seconds. This is **Kelsey Pierce (25)- witty, smart, intuitive and a natural beauty.**

A car pulls up in front of the house. Another familiar face comes out of the vehicle – PASSENGER BRIDESMAID. Her name is **Seantel Pierce-Reyes (28)- sharp, bold and passionate**.

SEANTEL

Sorry I'm late.

Kelsey rolls her eyes.

KELSEY

Well, thank God I wasn't dying. Girl, what took you so long?

Seantel walks up to her as she speaks

SEANTEL

Would you had rather me come here not showered in my pajamas looking like a hot mess?

Kelsey gets up from her seat and dusts off her butt.

KELSEY

(Jokingly)

God no. Then I really would've died seeing you like that.

SEANTEL

Girl…

The two laugh and then proceed to kiss each other on the cheek. The mood quickly changes to seriousness between the two.

SEANTEL

So, how is he?

KELSEY

(Sighs)

Like always this time of year.

SEANTEL

What? I thought we finally hit the mark with Miss Gloria.

KELSEY

He dumped her. Last night.

Seantel gasps.

SEANTEL

No…

KELSEY

Oh Yes…

SEANTEL

This has got to stop. How is he supposed to…?

KELSEY

Move on from our mother who died 25 years ago if he keeps breaking up with his girlfriends the day before she died…?

SEANTEL

Well… Yeah.

KELSEY

Girl, I don't know

Seantel groans in annoyance as she makes her way to the door.

SEANTEL

This is ridiculous.

KELSEY

Mmmm.

We pan to across the street where a man in a dark van is taking pictures of the women as they get into the house.

Cut To:

Int. Pierce Manor. Foyer

The sisters enter the house as they hear soft jazz music being played.

SEANTEL

Lord. Not the jazz music.

KELSEY

See? This is why I called for back-up.

The girls make their way further into the house.

Cut To:

Int. Pierce Manor. Living Room

A well decorated and furnished room. We see the source of the music- a vinyl on the left corner and a man sitting on the couch looking through a book.

This is **Michael Pierce (55) an honest blue-collar cop.** His eyes are full of sorrow and regret as he looks at a picture of his late wife as she smiles sitting while holding a new born with two other little girls at her side.

Seantel and Kelsey enter the room. They exchange sad looks with each other. Seantel is the first to make her way to her father.

SEANTEL

Hey Daddy.

Michael looks up, surprised to see his girls in front of him.

MICHAEL

Oh, hey baby.

He kisses her forehead as she seats next to him.

MICHAEL

Do you remember that day?

Seantel shakes her head.

MICHAEL

(To Kelsey)

It was the day you came home from the hospital.

Kelsey smiles and goes to sit on the vacant side of him.

MICHAEL (CONT'D)

Dalia was so happy that she had another sister again.

(To Seantel)

But you. You wanted us to send her back.

KELSEY

And to this day she still tries to get rid of me.

SEANTEL

But you never seem to really go, away do you?

The trio chuckles.

SEANTEL (CONT'D)

Dad?

MICHAEL

Hmm?

SEANTEL

You need to move on.

MICHAEL

(Sighs)

I have moved on.

KELSEY

No, you haven't.

SEANTEL

You do this every year. Sit at home playing sad music and reminiscing. But Dad, there's different ways to remember Mom. She wouldn't want you to live like this. She'd want you to be happy.

MICHAEL

I am happy!

SEANTEL

You broke up with Gloria!

MICHAEL

That's because Gloria was a little too clingy for me.

KELSEY

That's what you say about all the ladies.

MICHAEL

And its true. Look girls, I appreciate the concern. I really do. But I think it's time we close up shop on this whole dating thing. I had the love of my life already. I don't need another.

KELSEY

But Dad…

MICHAEL

Kel…just let it go.

The room goes quiet for a little bit.

SEANTEL

So, are you gonna go to work today?

MICHAEL

The precinct knows I don't work this time of year.

SEANTEL

Well, you're going to today.

Michael gives her a look.

SEANTEL

Hey! There's no more love life to meddle in. Might as well meddle with the other one.

He smiles at her.

SEANTEL

Come on, it'll be good for you to get out of the house.

KELSEY

Yeah

Michael finally gives in…

Michael

Ok Fine.

SEANTEL

(Smiles)

Great. I'll make breakfast.

The three gets up from the couch arms locked with each other as they make their way to the kitchen.

Fade Into:

Int. Pierce Manor – Kitchen

The family is sitting around the kitchen table eating and conversing with each other.

SEANTEL

All I'm asking is what's the rush? You've been dating for two months; you barely know him. And now you're engaged to be married? Don't you think you guys are moving a little too fast.

KELSEY

Wow. This coming from the girl who proposed to her wife with just six months of knowing her.

SEANTEL

Yeah, well that was different.

KELSEY

(Chuckling)

How?

SEANTEL

Cause that was me and this you.

Michael snickers at his middle daughter's comment while Kelsey glares at her sister.

SEANTEL

Look, all I'm saying is… you're known for not thinking things through.

KELSEY

That's not true!

MICHAEL

Seantel stop fighting with your sister.

SEANTEL

I'm not fighting with her! I'm just expressing my concerns. Come on Pops, you're not too hot on this wedding either.

MICHAEL

True. But I've seen Kelsey and Darren together and there's some genuine emotion between them. They absolutely love and care for each other. Plus, any man who treats my girl like the queen she is – is all right with me.

Kelsey smiles at her father.

KELSEY

Thank you, Daddy.

She gives him a peck on the cheek.

MICHAEL

You're welcome baby.

Seantel narrows her eyes at her kid sister. Michael goes to have a sip of his coffee.

SEANTEL

Are you pregnant?

Michael spits back his drink into his cup.

KELSEY

Really? That's what you think?

SEANTEL

It makes sense of this fast ass engagement.

KELSEY

Why can't you never be happy for me?!

SEANTEL

Because we've been through this before!

The air is tense and silent after that.

SEANTEL (CONT'D)

Remember Wade? He loved you. Hell, we loved him! But just two weeks before the big day you called it off.

Kelsey's face falls at this.

SEANTEL (CONT'D)

All you said was you fell out of love with him. What if that happens again?

KELSEY

It won't. What Darren and I share is totally different from what I had with Wade. You heard Dad. I really love him. And we're gonna get married and have babies and grow old together, and I want you at my side as my matron of honor.

SEANTEL

Aww, come here little girl

The two sisters are almost on the verge of tears as they hug.

SEANTEL (CONT'D)

I am happy for you. I want you to be loved.

KELSEY

I am.

The two breaks from their embrace and wipe their eyes.

SEANTEL

Girl it's too early for me to be crying like this.

KELSEY

(Chuckles)

Yeah.

Michael smiles at his girls.

KELSEY

I have to call Dalia and tell her the big news. She's gonna be so stoked when I tell she's going to be my maid of honor.

SEANTEL

Wait What?

MICHAEL

Dalia?

SEANTEL

Kels… We haven't seen or spoken to Dalia in six years.

KELSEY

Well you haven't spoken to her.

SEANTEL

And with good reason.

MICHAEL

You've been communicating with her? And you didn't tell me?

KELSEY

I'm sorry, I didn't know I needed permission to talk to my big sister.

MICHAEL

It's not like that. How is she?

Kelsey smiles.

KELSEY

She's good. She's a waitress. Last time we spoke she was thinking about going back to school.

MICHAEL

That's good. Sounds like she's doing great.

Michael has a sad look on his face as he drinks his coffee. He clearly misses his other daughter. Kelsey notices the look and gives a sad smile.

SEANTEL

Or it could all be an act. Maybe she wants something from you and is trying to find the right time to ask.

KELSEY

Do you always have to be so pessimistic? And besides, she didn't contact me; I found her Facebook.

SEANTEL

Well good for you.

She gets up from the table.

SEANTEL (CONT'D)

Might as well keep your eyes on the fine China. Since you're welcoming back someone who would steal from you, hurt you and just plain walk all over you…

MICHAEL

Sean…

SEANTEL (CONT'D)

Good Luck.

She begins to walk out of the room.

MICHAEL

Seantel…

SEANTEL (OFF-SCREEN)

Bye Daddy.

We hear the front door open and close. Michael sighs as he puts his face in his palm. He looks back up at Kelsey.

MICHAEL

Well, I for one think its great you guys are speaking again. And I think it'll be good if she comes to the wedding. Might be a good step to fix this fractured relationship.

Kelsey smiles and stretches her hand out on the table. Michael takes it as she gives him a smile.

KELSEY

Yeah. I really think so too.

He gets up from his sit at the table; still holding Kelsey's hand.

MICHAEL

Well, I gotta get ready for work and so do you.

She nods at him. He gives her a smile and kisses the top of her hand.

MICHAEL (CONT'D)

Love you, Sweet Pea.

KELSEY

Love you too Dad.

He leaves the room as Kelsey pulls out her phone. She goes to her messages and finds the name "Dalia" and proceeds to send her a text message.

Cut To:

Int. Sleazy Motel Room – Morning

The room looks like it was the venue of a WWE Smackdown event. A broken chair lays in the doorway and the wall has a huge hole in the middle of it. We go further into the room and see that the TV is also broken.

We pan down to the floor and there is an array of wine and beer bottles all over. We see a trail of broken glass and we follow it. Leading to – **An Unconscious Man with a huge bloody gash on top of his head.** We see the weapon – a broken wine bottle. Also, near to the broken bottle is a pair of well-manicured feet.

The camera pulls up to the person's face to reveal that it is – DRIVER BRIDESMAID sporting just a jeans and a bra and a freshly black and blue eye. She's sweaty, trembling and breathing heavily. **This is Dalia Pierce (32) and she's not doing too well right now.**

She looks down at the man and then to the doorway. She's contemplating making a run for it. As she prepares to move a ping can be heard. She looks to her right to find the source.

Cut To:

Int. Sleazy Motel Room – Bathroom

Dalia enters the bathroom and locates her phone on the sink. She sees the notification that she has just received a new message. She quickly types in her password to open the device and quickly goes to her messages.

Her eyes quickly devour the words on her screen. She smiles and begins to laugh. However, the laughing is cut short as she winces in pain. Her hands carefully make their way to her torso where she is sporting a fresh bruise. She touches it and pulls away and winces.

She finally looks up at the mirror and sees that **Unconscious Man is awake and right behind her!** She turns around and gasps in fear.

The man winces as he touches the top of his head and pulls back his hand to see his blood.

MAN

Ouch. That really hurt.

Dalia gulps but there's nothing to swallow. Her mouth has gone dry in panic. The man gives her an evil grin.

MAN

You trying to kill me bitch?

Dalia is silent as she looks down at the ground like a scared child.

MAN

You want me dead do you?

No Answer.

MAN

(Yelling)

DO YOU?!

He lunges at her and quickly throws his hands around her throat. Suddenly, he pushes her close to the sink. Dalia is trying to get away by scratching him with her nails but to no avail.

DALIA

Felix… Please… Let… Me… Go.

FELIX

NO! You don't love me! You never loved me!

He applies more pressure as he chokes her and slams the back of her head into the sink mirror. A crack appears on the reflecting surface. The air in Dalia's lungs is starting to go as she tries hard to fight him off and keep her eyes open.

She looks to her right and sees a bottle of hand soap on the sink and an idea comes to her mind. She tries to grab it, but she doesn't have much strength to.

FELIX

After everything I've done for you! You ungrateful bitch.

Dalia closes her eyes and reopens them, and she tries for the bottle again. She gets it and quickly sprays it into Felix's eyes. He lets go of her neck and yelps in pain. She swiftly knees him in the groin and pushes him where he hits his head hard on the toilet sit – he's knocked out again.

Dalia chokes as she tries to get some air back into her body again. She gives Felix one last glance as she bends down to pick up her phone from the floor, and dashes out of the bathroom.

Cut To:

Int. Sleazy Motel Room – Morning

Dalia, now wearing a shirt and jacket and sporting a scarf to hide potential bruises on her neck and makeup to hide her bruised eye, is hastily packing a few clothes in a small suitcase. She looks to the bathroom door which is now barricaded with a dresser. She grabs her phone and bag from the bed and opens the front door. She gives the room one last look over and leaves slamming the door.

Cut To:

Ext. Park – Morning

We see a middle eastern woman (mid to late 30s) doing what feels like her daily jog through the park. Earbuds in ears blasting a pop number. She stops at a remote clearing that houses a fountain nearby.

She removes her earbuds panting and sweating and proceeds to move near the fountain to get a drink.

We see her sipping from the fountain as the camera moves behind her to show that she's being watched. And not watched by just some random creep – we've seen this creep before. **It's the man in the black car that was taking pictures of the Pierce sisters!**

He's now wearing a tracksuit and smiling at the back of the lady's neck like he just scored his next dinner.

The woman stops her drinking, puts back in her headphones and begins to start jogging again. The man smirks and starts to run too; a few feet behind her.

Cut To:

Ext. Park – Morning

The woman is now jogging through an empty area that is neatly nestled between the woods and a lake. We see the man catching up to her and slowing down so that both are jogging at the same pace. He turns and gives her one of his creepy smiles.

MAN

Hey.

She reciprocates by giving him a mean look that means ( _I'm not interested. Now, leave me alone)_ and runs off. The man stops, and by his face, he is clearly angry.

After ditching the man, the woman is now walking the rest of the route clearly tired from all that running. She makes a few more steps when she sees the man again. This time in front of her drinking from a water bottle. He hasn't seen her yet as his back is facing her. She looks dumbfounded as she looks back from where she just left him earlier. _How the hell did he just do that?_

Suddenly, her eyes grow wide upon realization and not waiting for him to notice her; she dashes into the woods.

The camera pans over to the man. He stops drinking from his bottle and begins to smile manically. **He turns around and is greeted by another man that looks just like him! (He's the one that was running with her before).** They grin at each other and proceed to go into the woods to find the lady.

Cut To:

Ext. The Woods – Morning

The woman is running for her life to get away from what she knows is danger.

MAN (Off-Screen)

No where to run _**Witch.**_ I'll find you.

While running, she looks back to see if the man is close to her. Not looking in front of her, she trips on a piece of log and falls. She screams in pain as we see that she has hurt her left ankle.

Unknown Voice (Off-Screen)

What a klutz.

The woman looks up to find the source of the voice and what she sees makes her gasp. It's a woman that looks exactly like her; down to the jogging attire that she's wearing.

MIDDLE EASTERN WOMAN

No. Shapeshifters.

The shapeshifter laughs.

THE MAN

And you have something that we need.

The man from before comes up on the opposite side of the lady. She's trapped. She begins to crawl backwards until she's up against a tree. The two shapeshifters laugh at her. Once up against the tree, she pries herself up to stand. Wincing she asks:

MIDDLE EASTERN WOMAN

I have no powers. What do you want?

She's buying time asking a question she already knows the answer to as she winces and picks up a piece of stick from the ground and slowly starts to draw symbols into the ground.

WOMAN SHAPESHIFTER

Come off it Shiya. You know what we want.

SHIYA

And you're not gonna get it.

She finishes her last symbol and throws the stick to the ground. The symbols glow a bright orange and begin to make a circle around her as she begins to chant.

SHIYA

"Ancient one of the earths so deep; master of the moon and sun. I shield you in my wiccan way here in this circle 'round.

The shapeshifters don't seem fazed by this and are just smiling at each other.

SHIYA (CONT'D)

"Asking you to protect this space and offer your sun force down!"

Shiya smiles confidently after this.

SHIYA

This circle protects me from you. You cannot touch me.

The man gives her a cocky grin.

THE MAN

Who says we have to touch you?

Suddenly, female shapeshifter pulls a dagger from her waist and throws it at Shiya landing straight into her forehead. She falls to the ground. Dead.

FEMALE SHAPESHIFTER

When will these practitioners learn that that little old rhyming couplet doesn't protect them for that long?

The man smiles and shrugs his shoulders. They make their way to the dead body. The man bends down and pulls a dagger from his pocket and plunges it into the chest of Shiya, while female shapeshifter pulls out the knife from the deceased's forehead and begins to carve something into it.

We see the man pulling the knife from the fresh wound he just inflicted on the dead body. He then puts the tip of the dagger back onto the chest of the late Shiya. Suddenly, a bright glow leaves the chest of the woman and goes into the blade. The two shapeshifters look at each other and laugh and get up and leave.

The camera stays on them as they leave. We pan back to the dead body to see what was carved into Shiya's forehead. It looks like an eye with a sword plunged into it.

Int. Bedroom – Morning

The camera gives an aerial view of a sleeping black woman (mid to late 50's). She jolts up with a frightening gasp. She puts her hand on her chest to calm herself down.

WOMAN

He's coming. He's coming.

She pulls the sheet off her and runs out of the room. But before the door closes, we see on one of her shelves that she has the same picture that Michael Pierce was looking at before: the picture of his wife with their three daughters.

 **End of ACT I**

 **A/N: So, there you have it. The first act of episode one. Not the best of the five acts but there was a whole lot that happened in it. Tell me what you think and of course – constructive criticism only please! P.S. Did you like how I used the very first spell that was ever said in the first episode of Charmed as the protection spell Shiya was casting? Also, and I know this is early, but how do you feel about the sisters so far? Let me know.**


	5. 101 The Witching Hour ACT II

**ACT II**

Ext. Woods – Morning

The place is now a full-on crime scene. There're police officers putting caution tape around the scene, police dogs, CSI's and a forensic photographer taking pictures of the scene. In the crowded area we find Michael Pierce approaching the site. He walks up to another African American detective speaking to a uniformed police officer.

MICHAEL

Vincent!

 **Detective Lamont Vincent (32) tall, dark and handsome,** looks up surprised to see his partner.

VINCENT

Hey. I'm surprised you showed up. Considering what today is. My Condolences Mrs. Pierce was a great lady.

MICHAEL

Yeah, thanks. Well, if I had it my way, I'd be home lamenting. However, Seantel thought it'd be a good idea if I changed it up this year by coming to work.

Vincent does a little laugh at this.

VINCENT

That girl has been bossing people around since she learned how to talk. Good for you Sir.

Michael smiles and nods.

MICHAEL

So, let's get down to business. What do we have?

They make their way to the body as they speak.

VINCENT

Shiya Marshall, 35. She was doing her daily run through the park. Her husband dialed 911 when he saw that she was gone for 4 hours and not answering her cell.

They are now near the body that has now been covered up by a sheet. Michael bends down to pull off the sheet to see the victim's face. In just a millisecond, all the color from Michael's face is flushed out in fear as he sees the mark that was placed on the dead woman's forehead. He's seen this mark before! He knows what the mark is.

VINCENT

(referring to the mark)

I know right? Sick sons a bitches. The vic was stabbed by what seems like a double-edged steel knife.

Michael is not hearing a word from his partner; he's transfixed by the symbol on the victim's forehead.

VINCENT

Seems like we have another psycho on our hands.

Michael is still staring at the mark.

VINCENT

Sir, are you okay?

The hell he's not. He's trying to play it off, but he is seriously losing his shit.

MICHAEL

(To Vincent)

Yeah. Yeah, I'm fine.

He looks back down at the body. He's scared for what's about to happen.

Cut To:

Ext. Angie's Restaurant - Morning

A silver sedan pulls up on the curb. Seantel comes out the vehicle with a handbag on her shoulder. She stops when she sees what's on the window of the restaurant. It's a picture of her late mother that reads _: IN MEMORY: TAMAR MORRIS PIERCE - GONE BUT NEVER FORGOTTEN_. Seantel has a look that is mixture of sadness and annoyance. She takes a deep breath and proceeds to enter the place.

Int. Angie's Restaurant - Morning

A fine-dining landmark famed for its take on Creole cuisine. The walls are filled with vibrant paintings of art, and at the left corner of the room there is a stage if there is ever a musical guest. The place is empty for now; saved for an elderly black man wearing coke bottle glasses and sporting a residing hairline mopping the floor. Seantel greets him.

SEANTEL

Hey Bobby.

BOBBY

Mornin' Darling.

Seantel searches the room with her eyes and finds her boss Angela "Angie" Simmons (54, caramel complexion) stocking the bar. She walks up to her.

SEANTEL

Morning Ang.

ANGIE

(Surprised)

Morning. Hey, I thought I gave you the day off.

SEANTEL

(Irritated)

Seriously, this has got to stop.

(Off Angie's confused look)

My mother died 25 years ago. Not yesterday. Not last week. So, can we stop this? I do not need to be cuddled.

ANGIE

I'm sorry Seantel. I just thought you might've wanted the day off to do something to remember Tamar.

SEANTEL

No thanks. I think this city has got it covered.

She turns and makes her way to the kitchen in annoyance.

Cut To:

Int. Angie's Restaurant – Kitchen

Seantel busts through the kitchen doors. There are already other chefs preparing for the day. She greets them and goes in the back to change. Soon after, Angie comes into the kitchen and follows her.

Int. Angie's Restaurant – Changing Room

We see Seantel putting away her purse as she prepares to put on her chef coat. Angie comes in and leans on the doorway and looks at Seantel. Seantel gives her a glance and sighs.

SEANTEL

I hate when you do that whole silent thing.

Angie just stares at her.

SEANTEL (CONT'D)

Cause you know once you do that, I'm gonna vent.

Angie smiles and Seantel sighs.

SEANTEL

Y'know on my way here, I drove by at least 5 memorial pictures of her in the streets. She's been gone 2 decades and they're still eulogizing her.

ANGIE

She did a lot for the city when she was alive. Gave out food and clothes to the homeless; even going as far to help raise funds to build a shelter. Volunteered at hospitals and to top it all off being a wife and mother to you girls, and the best damn head chef I ever had. She was a saint and the city of New Orleans misses her greatly.

SEANTEL

Yeah, that's the thing… I never really got the chance to mourn her. I was too busy consoling everybody else; at 3 years old no less.

Seantel takes a seat on the bench. She's becoming emotional. Angie turns and closes the door and makes her way to seat next to Seantel and lays her arms around her shoulders.

ANGIE

I'm so sorry Sean.

Seantel takes a deep breath to lock in her emotions and gets up from her seat denying releasing her sorrow and pain.

SEANTEL

Yeah me too.

She opens the door and leaves. We stay on Angie as she stares at the ground and sighs.

Ext. New Orleans – Day

Stock shots of the city of New Orleans are shown (New Orleans Skyline, A street car driving through, street band playing for cash etc.)

Ext. New Orleans Social Services - Day

An exterior shot of the building.

Int. New Orleans Family & Children's Services – Day

We find Kelsey seated at her desk. She's reading something on her computer; she is almost entranced by what's on her screen. The camera pans around to the back of her and pushes to the computer screen to allow the audience to see what she's looking at. It's a newspaper article. The headline reads: **Local Chef & Humanitarian Burglarized & Killed in Home. **Under it is a picture of her mother. Kelsey gives off a longing look. She places her index and middle fingers on the computer screen and traces them on her late mother's face. She gives a short smile at the photo. _She's so pretty. Well,_ _was_ _so pretty._

The moment between her and her mother's picture is cut short when a man (white, early 40's) pops his head out of his office door to speak to her.

MAN

Kelsey!

She jumps at the sound of someone calling her which leads to her knocking down the cup of pens on her desk to the floor. She silently curses at herself.

KELSEY

(Still-Startled)

Yes Mr. Rossi?

ROSSI

The Callahan case – have you reviewed it yet?

KELSEY

Uh….

She swiftly exits the article tab on her computer and pulls up the Callahan case.

KELSEY

(Lying)

Yes Sir. I'm all over it.

ROSSI

Alright. So, what's your preliminary assessment?

Damnit. She doesn't even know what the case is about, and she sucks at lying.

KELSEY

Uh… I'm still going over that.

ROSSI

Ok. Well, as soon as you're ready – my office. Seeing as Brenda is on maternity leave, I will like your help on this one.

KELSEY

Yes Sir.

Rossi goes back into his office and Kelsey breathes a sigh of relief. She gets up from her seat and bends down to pick up the pile of pens all over the floor back into the cup.

We pan to the glass entrance doors to see a tall Asian guy with a bouquet of flowers walking into the building. **This is Dr. Darren Choi (31) handsome, charming, funny, mellow; basically, the perfect boyfriend.** He finds the cubicle he is looking for – Kelsey's. He smiles and walks up to it. Darren finds her crouched on the ground. Confused, he calls out:

DARREN

Kelsey?

Kelsey has now had all the pens back into the cup. At the sound of yet another encroacher's voice she jumps, and all the pens fly out of the cup again. She groans in annoyance and turns to see who it is. Her mood quickly changes when she sees it is her fiancé.

KELSEY

Babe! Hey.

DARREN

(Slightly Amused)

Hey. What are you doing on the floor?

She looks at her right hand that is holding a pen. She throws it back on the ground and gets up.

She flattens a wrinkled part of her skirt as she speaks.

KELSEY

What uh… what are you doing here?

Before he could answer, she notices the flowers.

KELSEY (CONT'D)

And what are those for?

DARREN

These are for you.

He gives the flowers to her and she kindly takes it and they kiss.

DARREN (CONT'D)

I wanted you to have them; seeing what today is…

He trails off as she looks at the ground for a bit. She looks back up to him and speaks:

KELSEY

Darren, it's just a regular day. Just like all the other regular days in the year.

Darren's not buying that line. He gives her a look ( _You're lying, and you know I know you're lying)._ With just only two months of dating, they seem to know each other pretty well. He quickly changes the subject.

DARREN

Hey, why don't I take you out for lunch?

KELSEY

(Chuckling)

You're kinda early. My lunch break is not for another 2 hours. And besides; don't you need to be at the hospital?

DARREN

I took the night shift. So, come on, what do you say?

KELSEY

Didn't you hear anything I just said?

DARREN

(Joking)

I did. But I spaced it out.

KELSEY

Oh…

The two chuckle a bit.

DARREN

Come on. It'll give us time to plan our wedding.

KELSEY

I'd love that. But, I'm kinda needed here babe.

DARREN

Just sneak out for a bit.

KELSEY

I'm sorry what?

DARREN

Oh, come on. It'll be like when you used to skip class to hang out with friends or sneak out your dad's place to go to one of those Kanye West concerts you told me so much about.

KELSEY

(Joking)

Okay. Now I regret telling you about my past.

Darren grins at this.

KELSEY (CONT'D)

Ok fine. But, just a quick lunch ok?

DARREN

Promise.

They kiss again.

KELSEY

But first…

She sees one of her male colleagues walking around and she calls out to him.

KELSEY (CONT'D)

Jonah!

 **As the man turns around to see her, we realize that it is one of the shapeshifters!**

He walks up to the couple.

JONAH

Hey guys. Congrats on the engagement.

DARREN

Thanks man.

KELSEY

Uh, yeah thanks. Jonah, there's something I have to do – can you cover for me?

She interrupts him before he can answer.

KELSEY

I won't be gone long. An hour tops.

DARREN

(Chimes in)

Or two.

Kelsey glares at Darren and he just smiles.

JONAH

(Chuckles)

Yeah sure. It's fine.

Kelsey touches his wrist as she thanks him.

KELSEY

Thank you. Thank you.

JONAH

Alright.

Darren pats him on the shoulder and then walks out the building with Kelsey hand in hand. Jonah watches them go with a cold stare.

Ext. Angie's Restaurant – Day

An exterior shot of the building.

Int. Angie's Restaurant – Kitchen

The room is loud as the chefs cook up a storm. We find Seantel slicing up some onions and then tossing it into a pan. A male server comes into the kitchen with a piece of paper.

SERVER

(Yelling)

Three more Crawfish Etouffee!

SEANTEL

Seriously? That's like the 5th ordering of that today.

A male cook chimes in.

MALE COOK

The 6th.

SERVER

(To Seantel)

It is your mom's recipe. And considering what today is…

Seantel gives him a death glare. _Don't remind me._ He gulps, puts the paper with the order on the table and swiftly leaves the room.

A short time lapse happens as we now see Seantel stirring a large pot of soup on a stove. The server from before walks back in with a knowing smile on his face.

SERVER

A plate of red beans and rice for _Her._

A young white female's head shoots up as she hears this.

FEMALE COOK

Her? As in Seantel's her?

SEANTEL

My her? What the hell is that supposed to mean?

The male cook from before chimes in again.

MALE COOK

Oh, you know. That fine as wine girl that comes in here for lunch AND dinner every day and night of the week. And you insist on serving her meal which leads to y'all ALWAYS flirting with each other, even though you already have an old lady.

SEANTEL

I don't flir….

Seantel looks to her colleagues who are all looking at her like ( _Yes you do)._

SEANTEL

I don't flirt with her. I do not.

Int. Angie's Restaurant – Time Lapse - Day

Seantel exits the kitchen doors with a plate of red beans and rice. She finds the person she's looking for sitting alone at her table on her phone. Seantel smiles, but that quickly fades when she sees Angie standing in front of her arms crossed.

SEANTEL

What?

ANGIE

You know what. I don't like this Sean. You have a wife!

Seantel sighs.

SEANTEL

She's just a friend Ang. That's it.

ANGIE

She better be just that; nothing more.

Angie walks off while Seantel just shakes her head. She proceeds to walk to the woman's table. She places the dish on the table garnering the female's attention. The female looks up from her phone and smiles.

FEMALE

Seantel.

Seantel smiles. She has butterflies in her stomach.

SEANTEL

Hi Jenna.

 **Jenna** is a striking beauty. Light complexion, green eyes and plump lips. The two are just staring each other down.

We pan to Angie behind the bar who notices this. She walks up behind Seantel and elbows her pulling her from her trance. Angie then walks away.

SEANTEL

Oh! I'm sorry. Your meal – a delicious plate of red beans and rice.

JENNA

Thank you.

Seantel nods and turns to walk away.

JENNA (CONT'D)

Seantel wait-

Seantel turns back around.

SEANTEL

Yeah?

JENNA

I know you're busy and all. But, can we chat for a second?

Seantel contemplates this and finally gives in.

SEANTEL

I suppose I can spare you 5 minutes.

JENNA

(Smiles)

Great.

Seantel pulls out a chair from the table and sits across from her. They both smile at each other.

We find Angie yet again who sees this and sighs and shakes her head.

Ext. New Orleans Police Department – Parking Lot – Day

A car pulls up in a parking space. The driver is Michael Pierce. He parks the vehicle and takes the key out of the ignition. He stays in the vehicle for a while, his hands still on the steering wheel. He's sweating bullets. He's scared and worried.

He takes his left hand from the wheel to roll down the window, but they don't open. Confused, he tries the button for the passenger window. The same happens.

Taking it as a sign to get out the vehicle, he opens the car door. Suddenly, the car door slams back and locks itself. Immediately, all the other doors suddenly lock as well. Panicked, Michael is furiously pulling the door handle to open.

Unbeknownst to him, out of nowhere smoke is rising up from the passenger seat. The smoke is slowly shaping into the form of a person – a female. Michael turns around and sees this with wide eyes. The smoke now in the shape of a female glows and then forms into the woman from ACT I – the one with the pictures of his daughters. Michael puts his hand on his chest and breathes a sigh of relief.

MICHAEL

Ruby! What the hell?!

 **This is Ruby Morris (53) witty, bohemian, eccentric.** She looks at Michael intensely.

RUBY

We need to talk Michael.

MICHAEL

Talk? Talk about what? Talk about how you nearly had me shitting my pants?!

RUBY

You know what we have to discuss.

Oh no. He was afraid of this.

RUBY (CONT'D)

We need to talk about your girls and their destiny as the Charmed Ones.

 **Oh shit! We cut to black on Michael's petrified face.**

 **End of ACT II**

 **A/N: Happy Holidays Guys! Sorry for the delay, this chapter was supposed to be posted 2 weeks ago but things kept coming up. This chapter wasn't magic heavy but focused more on establishing the characters and some of their storylines. But don't worry there'll be more magic soon. I'll also like to thank everyone who has favorited, followed, and reviewed this story and left me a PM – it means a lot.**


	6. 101 The Witching Hour ACT III

**ACT III**

A syphon appears on screen: **Houston, Texas.**

Ext. Bus Stop – Day

We see a pair of black converse shoes tapping at the pavement impatiently. The camera pulls up to show that it is Dalia. She's biting her nails waiting for the bus; she's nervous.

The cellphone in her handbag starts ringing. She sighs and pulls it out to see who's calling – it's Felix, her abusive partner. She takes a deep breath to calm her nerves and doesn't pick up. The device rings at least 3 more times and stops. Suddenly, the phone pings signaling she just received a text. Dalia sighs and looks at it.

It reads- _You think you're a big girl now? Your ass better be in this motel room in 2 hours or else I'll find ya and then I'll kill ya._

Dalia gulps in fear as her hands begin to shake and her eyes begin to water. She closes her eyes to mentally check herself. _You can do this Dalia. He doesn't hold the power over you. He never has._

She inhales and exhales and then opens her eyes. The bus she was waiting on is slowly starting to stop to pick up passengers. However, before she hops on it, she goes to the trash can near her and drops her cellphone into it. Feeling as though a huge weight has lifted off her shoulders, she boards the bus and it drives off.

Cut To:

Ext. New Orleans Police Department – Parking Lot – Day

We pick up from where we left off with Michael and Ruby in the car. Michael is a lot calm now.

MICHAEL

Neat trick. I didn't know you could do that.

RUBY

It's an astral projection spell. I'm not really here.

As if on cue to solidify that what she is saying is true – she begins to flicker as though the strength of the spell is weakening.

MICHAEL

(Notices this)

Must take a lot out of you.

RUBY

Stop deflecting Mike!

Michael looks down; he's been caught.

RUBY (CONT'D)

We need to discuss the matter at hand. We need to tell the girls.

Still looking down, Michael shakes his head.

MICHAEL

(Calmly)

No.

RUBY

No? What do you mean no?

MICHAEL

As in NO! I'm not about to ruin my girls' lives over this. Absolutely not.

RUBY

It's their destiny Mike.

MICHAEL

Was it destiny for Tamar to die like that? Was it destiny for my girls to grow up without a mother?

Ruby turns away from him to look at the dashboard. She's clearly emotional as well.

MICHAEL (CONT'D)

(Emotional)

Magic has taken so much from me. I'm not about to let it take anything else.

Ruby turns back to look at him, tears in her eyes just like him.

RUBY

You don't think I know that? But, what about the women being killed by _**his**_ flock?

Michael looks at her…

Cut To:

Ext. New Orleans Suburbia – Day

A car pulls up on the curb of a beautiful home. A pretty African American female (late 20's) sporting gym attire hops out of the vehicle.

RUBY (Voice-Over)

All the innocent witches and practitioners slaughtered and robbed of their powers and their life forces to sustain him. To help resurrect **Him.**

The pretty female looks up to see her boyfriend coming down the steps of their home.

BOYFRIEND

Hey Babe.

PRETTY FEMALE

(Smiling)

Hey.

The two meet up and kiss.

BOYFRIEND

I'm gonna hang by Chad's for a sec.

He leans next to her for a kiss again. She complies and then he walks off to his car.

PRETTY FEMALE

(Calls Out)

Be safe babe! Love you.

BOYFRIEND

Love you too.

He gets into the vehicle and drives away. The PRETTY FEMALE turns to the house, walks up the steps and pulls out her keys to open the door. She gets into the home and locks the door.

Soon after, we see a MAILMAN whistling and approaching the house. He quickly walks up the steps…

RUBY (Voice-Over)

Who's there for them? Who is going to protect them?

Still whistling, the mailman scans the neighborhood to see if anyone is watching him. He stops whistling and smirks to himself. He stretches out his index finger and in amazement **his finger turns into a human key!**

Int. Suburban Home – Parlor

We hear the door unlocking and soon it is open and in steps the mailman. He smiles deviously. The sound of the shower running can be heard upstairs. The man rubs his face with his hand and as he does so he quickly turns into his true form – **he's one of the shapeshifters!** He smiles again and goes further into the house.

He stops at the foot of the staircase leading to the second story of the house and stretches his hands out.

SHAPESHIFTER

 _ **Clauditis.**_

All the doors and windows of the house glow a dark red.

Cut To:

Int. Suburban Home - Bathroom

The pretty female taking a shower. Oblivious, to the happenings in her home.

Cut To:

Int. Suburban Home – Staircase

The shapeshifter is still in the process of chanting…

SHAPESHIFTER

 _ **Ne ea res ad extra hanc domum cepit oblivio.**_

The red glow from the windows and doors quickly begin to grow until it covers every room in the house and then quickly dissipates. Confident that his spell worked; the shapeshifter pulls out a dagger from his waist and begins to go up the stairs.

Cut To:

Int. Suburban Home – Bathroom

The shapeshifter opens the door and slowly makes his way to the glass shower. He raises his knife in the air very serial killer like while he stretches his other hand to pull the shower door's handle. He opens the door and quickly sees there's no one in there – just the water running.

He turns around and yells in annoyance. As he prepares to leave the room to look for his intended victim, he is hit with a vase to the face from the pretty female. The shapeshifter stumbles giving time for her to run down the stairs.

Cut To:

Int. Suburban Home – Continuous

The pretty female runs down the steps and heads for the door. She tries to open it, but it just won't budge. She turns around and sees the shapeshifter recovering from the blow and heading down the stairs. She thrusts her hand out and a shockwave is sent to the shifter knocking him back down on his ass.

She then goes to the living room window and tries to push it open and like the door it is magically closed. She throws a vase at it for it to break but that doesn't work either. She looks outside and sees kids walking down the street, she begins to bang the window with her fist to somehow gain their attention.

PRETTY FEMALE

Hey! Hey! Help! Please! Somebody help me!

She stops as an idea comes to her mind….

PRETTY FEMALE

My phone…

As she turns around, she is quickly gutted in the stomach by the shifter's blade.

Intercut With:

Ext. New Orleans Police Department Parking Lot – Day

We pick back up to Ruby and Michael. Ruby suddenly cries out in pain and quickly grabs her belly.

MICHAEL

(Concerned)

Ruby?! Ruby, what's going on?

RUBY

A-a-another witch. She's being murdered.

MICHAEL

But, how do you know that?

RUBY

I DON'T KNOW! Oh God.

Cut Back To:

Int. Suburban Home – Day

The shapeshifter violently pulls out the dagger from the witch's stomach…

Cut To:

Ext. New Orleans Police Department – Parking Lot

Ruby feels this and groans in pain. She is also beginning to sweat and gasping for air.

MICHAEL

Ruby…. Ruby, what's going on? Can you tell where she is?

RUBY

I…

MICHAEL

Ruby! Focus!

RUBY

(Crying)

I can't… she's in so much pain.

MICHAEL

Ruby!

Ruby begins to flicker again but much stronger and then she disappears in smoke just like she materialized in. Signaling, her spell has finally worn off.

MICHAEL

Ruby? Ruby!

He hits the steering wheel out of anger…

MICHAEL

Damnit.

Cut To:

Int. Suburban Home – Day

The pretty female is now on the floor – dead and with the symbol engraved into her forehead. The shapeshifter is standing and smiling over her. He looks to the house as his spell slowly fades away and then the door magically opens. He smiles and walks out the door.

Ext. Suburban Home – Day

The shapeshifter is back in his mailman form and begins to whistle the same note as before and walks off. Moments later, the female's boyfriend's car pulls up and he quickly exits the vehicle and runs up the stairs to the house.

Cut To:

Int. Suburban Home – Parlor

The boyfriend steps into the home…

BOYFRIEND

Babe! I think I forgot my wallet have you seen it?

He hears the shower running…

BOYFRIEND (CONT'D)

Babe!

He goes further into the house and stops at the staircase. He turns to his right and his eyes quickly grows wide as he sees the lifeless body of his girlfriend.

BOYFRIEND

Oh My God. Maya!

Cut To:

Int. Angie's Restaurant – Day

 **Valentina Pierce-Reyes (29), a classic beauty and always exuberating a desired calmness** enters the creole restaurant. She walks up to the counter where the hostess is stationed.

VALENTINA

(Smiling)

Hi! Is my order ready?

The hostess hands her the ordered meal…

VALENTINA (CONT'D)

(Chuckling)

Yes! Thank you. Um, is my wife busy? I'd like to talk to her.

HOSTESS

No.

The hostess points to apart of the dining room where Seantel is still at Jenna's table laughing away. Valentina face falls at this but she quickly masks it and turns back at the hostess and smiles.

VALENTINA

Thank you.

Cut to Seantel and Jenna:

JENNA

(Laughing)

I can't believe you actually did it.

SEANTEL

(Smirking)

Me neither. I'm so embarrassed.

JENNA

(Flirting)

Don't be…it's cute.

The two looks into each other's eyes. Seantel looks up to see Valentina walking up to the table…

SEANTEL

(Shocked)

Babe!

She gets up from her chair and gives her a peck on the cheek. She notices Valentina's mood.

SEANTEL (CONT'D)

Hey. What are you doing here?

VALENTINA

(Calmly but with attitude)

Just picking up lunch – like I do every day.

(Addresses Jenna)

Hi, I'm Valentina. Sean's wife.

The two women shake hands…

JENNA

Jenna.

SEANTEL

Uh…yeah, yeah – she's a friend.

Valentina glares at her then turns back to Jenna.

VALENTINA

Well, it was nice meeting you Jenna.

JENNA

Likewise. Sean's told me a lot about you.

VALENTINA

I wish I could say the same.

Ouch. An awkward silence is now in the air…

VALENTINA

I have to get back to work.

SEANTEL

Lemme walk you out.

The couple slowly departs from the table and walks in uncomfortable silence. Angie who is at the bar notices this…

ANGIE

Hey Val.

Valentina turns to Angie with tears welling up in her eyes and smiles then nods. The two walks out the restaurant as Angie looks on concerned.

Ext. Angie's Restaurant – Day

Valentina walks to her car trying to hold in her tears…

SEANTEL

Val! Val! Valentina, can you just let me explain!

Valentina stops at her car door and turns to face Seantel.

SEANTEL (CONT'D)

Jenna is just a friend. A friend that is all.

Valentina gives off a short foreboding laugh…

VALENTINA

Are you kidding me? I saw what was going on in there?

SEANTEL

Saw what?

VALENTINA

A CONNECTION! There's something between you two and don't try to act dumb like you don't feel it.

SEANTEL

(Half-chuckles)

Are you serious? Are you hearing yourself right now? There is no –

VALENTINA

(Calmly)

Are you cheating on me?

SEANTEL

(Taken aback)

What?! No, I'm not cheating on you. I would never –

VALENTINA

But, do you want to?

Seantel is stumped at this question. She's lost for words.

SEANTEL

(Emotional)

I – I can't believe you would ask me that.

VALENTINA

You didn't answer my question.

Seantel puts her hands on her hips and looks down to the ground, then back up. She too has tears in her eyes. But she doesn't answer her wife's question and just looks at her.

SEANTEL

I-

Valentina finally lets her tears escape her beautiful hazel eyes and then quickly wipes it away from her cheeks.

VALENTINA

Wow.

She quickly opens her vehicle door and enters…

SEANTEL

Val wait!

Valentina puts the keys into the ignition and drives away.

SEANTEL

Val!

Seantel sighs and then rakes her brown curly locks in frustration. She then turns and walks back to her place of work.

Fade Out:

Fade In:

Ext. City Park – Day

Kelsey and Darren are walking through the beautiful park and eating out of Chinese boxes. Kelsey is currently engulfed in laughter…

DARREN

(Smiling)

All I'm saying is, that would be epic.

KELSEY

(Chuckling)

Ok…I am not agreeing to a Walker, Texas Ranger themed wedding. Absolutely not.

DARREN

Oh, come on. I can already picture it. You – the Alex Cahill to my Cordell Walker. Plus, I have to admit I look pretty damn good with a cowboy hat.

KELSEY

Shut up, Chuck Norris.

She playfully hits him on his arm. The two walks in a short silence…

DARREN

So, what do you want?

KELSEY

(Sighing)

Most girls know what their wedding would be like by the time they're six.

KELSEY (CONT'D)

Every time I would dream about mines, I would pray that somehow my mom could be there and walk me down the aisle with dad. But, I know that's completely impossible. So, I stopped dreaming about it.

Darren stops and grabs her hand willing her to stop walking. He turns to her and caresses her cheek with his thumb. She closes her eyes at his soft and manly touch. She opens her eyes and looks into his…

DARREN

I know she'll be there in spirit for you.

A teary-eyed Kelsey smiles and nods. The couple then kiss…it's soon interrupted by the ringing of a cellphone.

KELSEY

Oh, that's me.

The I.D. is listed as "Rossi".

KELSEY

(High-pitched voice)

Hi Mr. Rossi.

Intercut between Kelsey & Rossi

Int. New Orleans Social Services – Rossi's Office

ROSSI

Kelsey, where the hell are you?

KELSEY

Sir, I am so sorry. There was this family emergen –

ROSSI

Whatever. Look, can you get down to New Orleans Memorial?

KELSEY

What? Why?

ROSSI

It's Emilia Callahan.

KELSEY

(Confused)

Who?

ROSSI

(Sternly)

Emilia Callahan – from the Callahan case?

KELSEY

Right. Right.

ROSSI

She's just been admitted to the hospital. With a whole new slew of cigarette burns on her hands and shoulders.

KELSEY

Oh my God.

ROSSI

Yeah. Her mother's been arrested and Emilia's not talking to any of the doctors and nurses. That's where you come in; get down there and see what you can get from her.

KELSEY

I'll be there ASAP.

They both end the call…

End Intercut:

Ext. City Park – Day

DARREN

What's wrong?

KELSEY

We need to go the hospital right now.

Cut To:

Ext. New Orleans Memorial Hospital – Day

Establishing shot of the building.

Cut To:

Int. New Orleans Memorial Hospital – ER Room

We find Emilia Callahan – redhead and no older than 6 lying on one of the beds. Her arms have been bandaged up and to her left she is flanked by two other redhead kids Brent (14) and Abigail (9).

Kelsey slowly walks up to the siblings and then takes a knee to the bed so she could be eye-level with the young girl.

KELSEY

Hi, Emilia. My name's Kelsey Pierce, I work with Social Services – can you tell me what happened?

BRENT

(Angry)

You know what happened! Our sick bitch mom burned her.

Kelsey eyes him and then turns back to Emilia. Emilia is giving her no eye contact but instead looking down and playing with her hospital gown.

KELSEY

Emilia sweetie, did your mommy do this to you?

Emilia finally looks her in the eye. She bites her lip; she wants to answer but she's afraid.

KELSEY

Everything's ok honey. You can tell me.

The little girl contemplates this and opens her mouth but then quickly shuts it. She turns back to playing with the gown.

Kelsey sighs, gets up and walks to Darren who's been standing close…

DARREN

Well, what did she say?

KELSEY

(Sighs)

Zilch. She's way too scared to say.

DARREN

Damn.

KELSEY

I can't blame her though. I'm a stranger to her. I need to build rapport for her to tell me why a mother would burn her daughter like that?

Darren gives her a comforting rub on her arm.

WOMAN'S VOICE (Off-Screen)

My God, Emilia!

The camera pans to reveal a redheaded woman approaching the young girl's bedside. Kelsey moves to her…

KELSEY

Stacy Callahan?

The woman turns towards her.

STACY

Yes?

KELSEY

I'm Kelsey Pierce, the social worker on this case. You're Emilia's legal guardian in case –

STACY

(On the verge of crying)

Yes. And I'm their aunt as well. Did she – Did she say why my sister would hurt her like this?

KELSEY

No, not yet. But I'll keep trying.

STACY

The doctor said I could take her home.

KELSEY

Yes, I'll be visiting soon when she's not shaken up so we can talk.

STACY

Thank You.

Kelsey nods and Stacy goes and hugs her niece. Emilia and Kelsey locks eyes with each other. We fade out on Kelsey's worried glance…

Night Time Stock Shots of New Orleans are shown

Cut To:

Int. Seantel & Valentina's Apartment – Living Room – Night

Seantel enters the house…

SEANTEL

I'm home!

The camera finds Valentina washing dishes in the kitchen. Seantel drops her purse on the sofa and quietly moves to her wife.

SEANTEL

(Solemnly)

Hey…

VALENTINA

(Coldly)

Hey.

SEANTEL

Uh…uh where's Miles?

VALENTINA

I already put him to bed.

SEANTEL

Oh, ok. Maybe we could talk?

VALENTINA

I can't do this right now Sean…

SEANTEL

Baby, just let me explain –

Valentina swiftly turns around to face her spouse with teary eyes.

VALENTINA

I SAID not right now. I'm too tired.

Sean is taken aback by her wife's outburst.

SEANTEL

O-ok. I'm sorry.

VALENTINA

I just want to be left alone.

SEANTEL

(Teary-Eyed)

Ok. I'll sleep on the couch tonight and we'll talk tomorrow.

VALENTINA

No. I think you should spend the night at your dad's. I'll see you tomorrow.

Valentina wipes her hand and walks away. Seantel looks on hurt, then nods and makes her way to the door.

Cut To:

Ext. Pierce Manor – Night

It is now raining. We see the shapeshifter again in his car staring at the house. He's distinctively looking at the living room area where two female silhouettes can be seen.

Cut To:

Int. Pierce Manor – Living Room

Seantel is sitting on the sofa with a glass of wine while Legally Blonde is playing on the television. Kelsey comes into the room with a bowl of popcorn and plops down to her sister.

SEANTEL

So, you think she did it?

KELSEY

I mean who else could it be? The sister was outside and heard Emilia screaming and the brother was at band practice. Which leaves the mom and Emilia alone in that house.

SEANTEL

That's sick. To inflict that type of pain on your own flesh and blood.

KELSEY

Yeah, well not everyone is fit to be a mother.

SEANTEL

True.

The two sips from their glass…

KELSEY

Not that I don't enjoy our sister time, but what are you doing here instead of being with your wife and my delicious nephew?

SEANTEL

(Sighs)

Val and I had a fight.

KELSEY

About.

SEANTEL

(Lowly)

She thinks I'm cheating.

KELSEY

Are you?

SEANTEL

(Offended)

What?! No. I would never.

KELSEY

Ok. So, what would give her a reason to think that.

SEANTEL

She found me having lunch with another woman.

KELSEY

Wait what? Sean –

SEANTEL

No. it's not like that. Jenna is just a friend, we're not sleeping together.

KELSEY

Ok. I believe you. But, come on Sean – there's other facets to cheating besides the physical. Can you say you're not cheating on Valentina emotionally?

Seantel looks at her sister and contemplates this question.

SEANTEL

(Emotional)

I-I don't know.

Kelsey moves closer to her and gives her a hug. The tenderly sister moment is interrupted by the sound of the doorbell.

KELSEY

I'll get it.

Int. Pierce Manor – Parlor

Kelsey makes her way to the door. The doorbell is rung again.

KELSEY

Ok. Ok. I'm coming.

She grabs the door handle and pulls it open. Her mouth becomes ajar by the person on the other side – **It's Dalia!** She is a little wet from the rain…

DALIA

Hey Sis.

Cut To:

Int. Pierce Manor – Living Room

Sean's eyes grow wide by the sound of that voice and quickly gets up from the couch.

Int. Pierce Manor – Parlor

Seantel comes into the room…

Seantel

Dalia.

Kelsey and Dalia who's still outside turn to look at Seantel.

DALIA

Hi.

She turns back to Kelsey and then smiles…

DALIA

So, are you gonna let me in or what?

The camera shows Kelsey and Seantel's faces that are still in shock and then Dalia who is just smiling.

 **Black Out**

 **End of ACT III**

 **A/N: Finally, the Charmed Ones are together! Happy New Year Guys. For a chapter that literally only took me a day to write, I can't believe it took so much time to upload it Lol**. **I keep forgetting I have a story to update smh. Anyways, I have decided to make episode one a bit longer. So, instead of 6 acts there might 8. Again, thank you all who has read, reviewed, followed and favorited this story.**


	7. 101 The Witching Hour ACT IV

**ACT IV**

Int. Unknown Apartment – Living room – Night

A young woman is pushed against a wall and is then stabbed and killed by the shapeshifter Jonah. He breathes in her magic as her powers escape her body. With the transference complete – he smiles.

MAN (O.S)

Jonah!

He turns to the voice to find his identical twin shapeshifter looking at him with a stern face.

JONAH

(Surprised)

Brother! Cutting it a little late, are we? I've already killed this one.

MAN

I saw. And you took her power. Jonah, that is not meant for you. It's for our-

JONAH

For our master! I get it. But, why does he have to get everything?

He drops the dead body to the floor and moves over to his brother…

JONAH (CONT'D)

Whose to say we can't have a little fun sometimes huh? Reap in the benefits of our labor? Nobody has to know.

MAN

That's treason brother. We kill the witches and bring him the power in the hopes that he'll rise from his slumber. That is the job.

JONAH

SCREW THE JOB!

JONAH (CONT'D)

I'm tired of being his footman! His lackey. No. No, I have something better in mind.

He grabs his brother by the shoulder and looks him in the eye.

JONAH

(smiles)

I say we absorb as many powers that we can and vanquish him ourselves.

MAN

What?

JONAH

Think about it; with him gone we can finally go back home. No more living in exile. We'd get to go down there again – in the underworld.

JONAH (CONT'D)

Come on, Jedikiah. Think about all the praises we'll receive for finally killing him. We'd be legends!

Jedikiah breaks away from his brother's hold on him.

JEDIKIAH

Are you hearing yourself? That is madness. Now, we made an oath to our master and we're sticking to it.

JONAH

No, YOU'RE sticking to it. Not me. I'm done.

Jonah heads for the door…

JEDIKIAH

If you walk away from this, I'm afraid I'll have to tell the council of your plans.

JEDIKIAH (CONT'D)

And they will come after you.

JONAH

(Smiling)

Let them come.

JEDIKIAH

Cocky, are we?

JONAH

Oh yeah. See, this wasn't my first time taking a witch's power for my own. I have way more under my belt than you know.

JONAH (CONT'D)

Which gives me advantage when I go up against the Charmed circle and steal their magic and come after you and your beloved master.

JEDIKIAH

What are you talking about? The Charmed Ones are not complete.

JONAH

Oh! But they will be. See, the eldest sister arrived not too long ago.

Jedikiah's eyes grow wide at this revelation. Jonah gives him a devious grin and then sends a shockwave (a power he stole from the previous witch before) to his sibling throwing him across the room.

JONAH

And I'll get to them first.

He smiles and then disappears.

Cut to:

Int. Pierce Manor – Parlor – Night.

Dalia and Kelsey are in the process of hugging with Seantel standing a few feet behind them arms-crossed. The siblings pull apart while still holding each other's hands…

KELSEY

I can't believe you're here. It's so good to see you. Isn't it Sean?

SEANTEL

(Sarcastically)

I'm speechless.

Kelsey glares at her.

DALIA

Yeah well, I got your text and I was so over the moon that I had to come see you. My little sister is getting married!

She goes in for another hug and Kelsey gladly accepts while Seantel rolls her eyes.

DALIA (CONT'D)

Okay, so lemme see it.

Kelsey smiles and stretches out her left hand showing out her beautiful diamond engagement ring.

DALIA (CONT'D)

Oooh girl he did good.

KELSEY

I know right?

DALIA (CONT'D)

He got a brother?

Kelsey grins…

DALIA (CONT'D)

Uncle? Cousin? I'm good with anyone…

KELSEY

(Chuckling)

Your crazy. I can't with you.

Dalia joins her sister in the laughter.

SEANTEL

(Annoyed)

So, uh Dalia. How long are you in town for?

DALIA

Oh God. I hadn't really thought about that. Maybe until the wedding?

DALIA (CONT'D)

(To Kelsey)

I'd be happy to help with anything. Planning?...

KELSEY

Of course. I need all the help I can get.

DALIA

(Smiling)

Great.

SEANTEL

And where would you stay?

KELSEY

She can stay here.

SEANTEL

Yeah. Well, I don't think Dad's gonna like that idea, Kels.

DALIA

(Insulted)

Oh. And suddenly you speak for our father now?

SEANTEL

No. I just remember the last time you lived here. And the great pain you caused him.

Dalia lets out a bitter laugh…

DALIA

Where do you get off Sean?

SEANTEL

Excuse me?

DALIA

No seriously? Where do you get off?

DALIA (CONT'D)

You seem to love bringing up my past wrongs while refusing to do the same for yourself. Like you're the perfect daughter – the saint, while I'm the family menace.

SEANTEL

That's because you are.

KELSEY

Sean!

SEANTEL

No, Kelsey she needs to hear this. All you do is cause problems. You bring trouble, you bring pain and you cause destruction.

SEANTEL (CONT'D)

Then you run away leaving us to deal with the damages you've made. And frankly, I'm sick of it. **We're** sick of it.

Dalia is left standing there stunned. She's hurt; feeling like she was hit by a wrecking ball. She quietly nods and turns on her heels grabs her bags and heads for the door.

KELSEY

Dalia wait! Don't go.

Before Dalia can put her hand on the doorknob the door opens and in comes Michael. The man stops dead in his tracks as he sees his first-born standing in front of him. A wave of emotion washing over him.

MICHAEL

(Almost breathless)

DD?

As she answers her father, a single tear falls from her left eye…

DALIA

(Hoarsely)

Hi Daddy.

Cut to:

Int. Pierce Manor – Kitchen – Time Lapse

Michael and Dalia are sitting at the dining table. Dalia has a plate of leftovers in front of her that she is in the process of devouring. Her father just sits beside her and stares in awe. Still in shock that his firstborn is home again.

Her head finally rises from the plate as she swallows her last bite. She locks eyes with her dad and reciprocates the smile he just sent her way. She then wipes her mouth with her sleeve…

MICHAEL

I can't believe you're here.

DALIA

I'm sorry for just showing up here. I know I should've called…

MICHAEL

(Shakes his head)

Nonsense. **This** is your home DD. You are always welcome.

DALIA

(Tearing up/whispers)

I'm sorry daddy.

MICHAEL

For what?

DALIA

For everything. The lying. The stealing. All the pain I caused you. I am so so sorry.

MICHAEL

Honey, I've forgiven you so many moons ago. You were a kid. You just needed time to figure things out.

DALIA

And I have. I swear. I've come face to face with my demons and I've dealt with them.

He smiles at her and wipes a tear streaming down her beautiful face and then places his hands on her cheek.

MICHAEL

Oh baby, I know, and I am so proud of you.

With those final words, Dalia breaks down and Michael quickly pulls her in for a hug. For a while, the two sits there as daughter cries into the chest of her father.

Cut to:

Int. Pierce Manor – Dalia's Bedroom – Night

Dalia comes into view wearing pajama bottoms and bra while drying her hair with a towel. As she sits at the edge of her bed, she sees something at the corner of her eye – a frame picture of her as a kid with her late mother. Dalia moves to the vanity dressing table and picks up the photo; a sad look makes its way onto her face.

DALIA

I miss you Mom.

Kelsey comes into the doorway holding blankets. She knocks on the door startling Dalia.

DALIA

Oh my gosh! You scared me.

KELSEY

(Chuckles)

I'm sorry. I just wanted to bring you these.

She enters the bedroom…

KELSEY (CONT'D)

This was always the coldest room in the house.

DALIA

Oh yeah, thanks.

As she reaches for the blankets, she winces, and Kelsey notices the large bruise.

KELSEY

My God. D, how did you get this?

DALIA

(Brushes her off)

It's nothing.

KELSEY

It doesn't look like nothing. Seriously, it looks like it hurts.

DALIA

I said it's nothing!

Kelsey is caught off-guard by her sister's sudden outburst.

DALIA (CONT'D)

Look, I'm sorry. You know how cranky I get when I'm tired.

KELSEY

Right. Well, I uh, I'll see you in the morning.

DALIA

Yeah.

The two embraces.

KELSEY

Good night.

DALIA

Night.

Dalia sighs ashamed that she popped off on her sister like that. Meanwhile, Kelsey exits the room closing the door on her way out. Then, she leans on it worried for her eldest sibling.

Cut to:

Int. Pierce Manor – Michael's Bedroom – Night

Michael comes from his bathroom wearing a robe. He makes his way to his dresser and opens a drawer.

STAY ON the mirror behind him as Ruby materializes yet again…

RUBY

Why didn't you tell me that Dalia is back?!

MICHAEL

(Startled)

Jee-Zus!

He quickly closes his room door:

MICHAEL (CONT'D)

Could you stop that.

RUBY

How else should I reach you? You never answer my calls.

RUBY (CONT'D)

When were you planning to tell me that your daughter was back in town?

MICHAEL

I didn't think I had to. Plus, I was just as surprised as you are; she kinda just showed up.

RUBY

(Smiles)

It's fate then! Dalia is meant to be here with her sisters to complete the Charmed coven. It is their destiny.

MICHAEL

I thought I made it perfectly clear I don't want my girls anywhere involved in this?!

RUBY

They already are. They were born into this, Michael. Now, I've abided by your wishes for 25 years and frankly I'm sick of it.

RUBY (CONT'D)

Either you tell the girls what they are, or I will.

MICHAEL

(Chuckling)

An ultimatum? Are you serious?

RUBY

Damn straight.

RUBY (CONT'D)

We are at war Mike…and without your girls we are just lambs waiting for slaughter.

MICHAEL

I'm sorry Ruby, I really am. But like I already said; I am not risking anyone else that I love over magic.

He moves closer to Ruby pointing a finger inches to her face…

MICHAEL (CONT'D)

And if you ever threaten me again or if I ever see you near any one of my girls; your precious magic will not save you from what I'll do to you.

Ruby smirks clearly not fazed by his words just smokes out of the room.

Int. Ruby's House – Dining Room – Night

Ruby reappears back in her home. She walks to her dining table that is filled with voodoo artifacts and herbs and spices. The table also holds the yellow mustard colored book from the teaser. She pulls out a chair; sits and begins to throw herbs into a stone mortar grinder. Ruby gets up grinder in hand and makes her way to blank canvas. She grabs a paintbrush from a nearby desk and begins to paint with her freshly made herb paste.

CLOSE UP on her as she begins to chant:

RUBY

 _ **Mwen rele sou syel la ak late a…**_

Suddenly, the rain begins to pour even heavier, bringing with thunder and lightning.

RUBY (CONT'D)

 _ **Ede m 'nam lapriye mwen am...**_

Intercut:

Quick shots of:

Dalia lying in bed holding the picture of her mom.

Seantel in her old bedroom lights still on, tossing and turning. She opens her eyes and sighs. She reaches for her cellphone on the nightstand and begins to send a message to her wife: "I'm sorry. I love you." Seantel bites her lip, contemplating should she send it. Finally, she decides not to and quickly deletes her words.

RUBY

 _ **Pote pouvwa ou a twa se yo!**_

Cut to:

Kelsey entering her room while putting her hair in a ponytail, cutting off the lights and diving into her bed.

Cut back to:

We pan around to the back of Ruby where we finally get to see what she has been painting: a picture of the three Pierce sisters holding hands, eyes closed and all sporting the Marassa on their foreheads.

RUBY

 _ **Ba yo pouvwa a!**_

 _ **Yo bezwen pouvwa a!**_

As she steps back from the painting, it suddenly becomes animated as the illustrated women's eyes open and glow purple just as their hands and the symbol on their heads. Swiftly in amazement, the painting turns into three purple orbs and shoots out of the canvas and begin to circle around the room. Ruby smiles as the balls find their way out of house.

WE STAY ON the purple orbs as they make their way through the Crescent City unbeknownst to the human inhabitants until they descend upon the Pierce Manor and enter.

Int. Pierce Manor – Continuous – Night

One by one an orb of light enters the sister's room and enters the sleeping siblings' bodies.

SPLIT-SCREEN into three as each sister jolts from their sleep not noticing the glowing emblem on their foreheads.

 **End of ACT IV**

 **A/N: Hi guys! So so sorry for the wait; my computer was having some serious issues. I contemplated just writing over this chapter on another laptop, but I decided to wait instead. This was my favorite installment to pen so I hope you enjoy it.**


End file.
